Cette thèse interroge le processus de transformation du savoir architectural dans la Chine moderne par le biais de l’observation de la relation entre la création architecturale et l’histoire. En tenant compte de l’évolution diachronique de ces deux cultures, cette étude analyse la circulation des savoirs entre le monde occidental et la Chine et les effets discursifs qu’elle a produits dans la création architecturale et artistique chinoises. L’architecture moderne se généralise en Chine à partir de la fin du XIXe siècle en parallèle avec le développement de l’industrie. Au début du XXe siècle, apparait une nouvelle forme de conception de l’historiographie moderne qui se réfère à l’Occident. Des enjeux complexes qui impliquent des références idéologiques et qui concernent la méthode historiographique percent au travers des premières études modernes consacrées à l’architecture chinoisetraditionnelle. En s’appuyant sur cette base historique, le travail de cette thèse analyse la conception des projets architecturaux afin de mettre en évidence les recherches, très personnelles, des architectes et des historiens chinois et, notamment, leurs interprétations de certains concepts clés de la discipline. Les discours et les pratiques qui émaillent le milieu architectural des années 1950 aux années 1990 décrivent une histoire de l’architecture en pleine évolution. La discipline absorbe à la fois des influences provenant de pays étrangers et hérite de la tradition établie pendant les années « rouges ». A partir de l’ouverture du pays et des réformes économiques qui s’ensuivent, elle est aussi confrontée à un développement urbain à grande échelle. Vers la fin des années 1990, l’apparition des architectes chinois d’avant-garde révèle un courant qui vise à réinterpréter la tradition et signe le retour à la discipline elle-même. / This thesis goes through the changes that occur in the architecture’s knowledge in modern China, observing the relation between architectural creation and the historical background. Taking into account the diachronic differences between the two cultures, this study analyzes the interpenetration of that knowledge between western countries and China as well as its influence upon Chinese architectural and artistic creation. Modern architecture started spreading over China from late XIXth century, together with the industrial development. In early XXth century, a new approach to modern historiography appears referring to the west. Some complex issues referring to ideology and regarding historiographical methods started to emerge through the first modern studies on Chinese traditional architecture. This thesis, based on such an historical background, analyzes the architectural projects and concepts in order to enlighten the researches, quite personal, made by the Chinese architects and historians and to emphasize their own interpretations of the key concepts on this field. The statements and practices that pave the way of architecture from the 1950s to the 1990s bring up the question of the evolution occurring in the architectural history. Chinese architecture draws its inspiration from abroad mixing it with the tradition established during the Chinese « red years ». After the opening policy and economical reforms were settled, architecture faces a great urban development. Around the end of the 1990s, some Chineseavant-garde architects started a new way aiming at re-interprating the tradition within the discipline itself.

Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

Depuis 1979, les critiques d'art en Chine ont accompagné le développement de l’art contemporain, participant à la renaissance de la vie intellectuelle durement éprouvée sous le règne de Mao. Les revues d'art reflètent l’évolution de leur réflexion. Dans ma thèse je présente d’une part ce paysage intellectuel dans lequel s’est construite la critique d’art chinoise, et d’autre part, après avoir analysé comment certains concepts passent d’une langue à l’autre, j’aborde les textes théoriques et leur réception dans le milieu académique. Attirés au départ par la pensée occidentale, un champ référentiel qui s’étend de Platon à Danto, les critiques chinois se sont tournés ensuite vers le corpus classique, voire le Livre des mutations, pour forger des outils “propres à la Chine” afin de ré-écrire une histoire de l’art contemporain chinois délivrée du carcan post-colonial, mais au risque de se prendre au piège d’un nationalisme insidieux encouragé par le Parti. Les larges extraits que je propose traitent de la méta-critique, du sort et de l’essor de la modernité et du postmodernisme, de l’art abstrait émanant des gestes et des outils de la calligraphie... 
Récusant les concepts occidentaux jugés inaptes pour interpréter l’art chinois, recourant aux concepts classiques pour fonder l’École du yi, Gao Minglu propose une théorie critique qu’il tente d’appliquer aux œuvres contemporaines. À l’inverse Wang Nanming défend une démarche qui se veut universelle et dénonce les artistes et les critiques qui brandissent leur identité chinoise... Ainsi les démarches étudiées sont variées et parfois antagonistes, mais attestent de la vitalité de la critique d’art contemporaine chinoise. / Since 1979, China Art critics have accompanied the development of contemporary art, participating in the revival of intellectual life which have been hit hard during the reign of Mao. The journals in art reflect changes in their thinking. In my thesis I will present both the intellectual scene in which is constructed criticism of Chinese art, and secondly, after analyzing how concepts move from one language to another, I approach theoretical texts and their reception in academic. Attracted initially by Western thought, a reference field that extends from Plato to Danto, Chinese critics then turned to the classical corpus, or the Book of Changes, to forge tools specific "to China" to rewrite history of Chinese contemporary art delivered from the post-colonial yoke, but at the risk of getting trapped in an insidious nationalism encouraged by the Party. The extensive excerpts I propose deal with the meta-criticism, and the fate of the rise of modernity and postmodernism, abstract art from gestures and tools of calligraphy. Rejecting Western concepts which are unfit to interpret Chinese art, according to the traditional concepts to establish the School of yi, Gao Minglu offers a critical theory he tries to apply to contemporary works. Conversely Wang Nanming defends an approach to be universal and denounces the artists and critics who brandich their Chinese identity ... So the approaches discussed are varied and sometimes conflicting, but attest to the vitality of contemporary Chinese art criticism. Art critics propose theoretical models that are more interpretive tools of interpretation than appreciation.

Ces travaux de thèse concernent la conception et l'étude d'algorithmes, d'une part pourprédire les quantités thermodynamiques et la structure secondaire des ARN, d'autre part pour l'alignement de séquences.Dans une première partie, nous appliquons un algorithme de Monte-Carlo pour approximer la densité d'états d'énergie des structures secondaires d'une séquence d'ARN, ou d'une hybridation de deux molécules d'ARN données. Nous montrons d'abord que la densité estimée par notre programme est aussi bonne que la densité exacte, et le temps d'exécution de notre programme est beaucoup plus rapide. Nous calculons ensuite la température de dénaturation d'une hybridation de deux molécules d'ARN. Nous montrons que nos températures de dénaturation sont plus proches des valeurs expérimentales que celles des deux autres programmes existants.Puis, dans une deuxième partie, nous implémentons un algorithme de programmation dynamique qui engendre des structures sous-optimales, dédié principalement à la prédiction des deux structures fonctionnelles des riboswitchs. Nous appliquons d'abord notre programme sur un riboswitch TPP dans lequel nous avons réussi à détecter les deux structures fonctionnelles. Nous montrons ensuite que les structures prédites par notre programme sont plus proches de la structure réelle par rapport aux cinq autres programmes existants, sur un échantillon de riboswitch purine.Enfin, dans une troisième partie, nous présentons un algorithme de recherche des alignements sous-optimaux de séquences pour améliorer la qualité d'alignement des séquences. Nous comparons d'abord nos alignement à ceux produits par l'algorithme de Needdleman-Wunsch. Nous prédissons plus d'alignements de référrence par rapport l'algorithme de Needdleman-Wunsch. Nous calculons ensuite les fréquences des paires de bases alignées et les entropies de position spécifique dans nos alignements sous-optimaux. Nous montrons que les entropies calculées à partir de notre programme sont plus corrélées que celles des autres programmes avec les positions des paires de résidus fiablement alignées selon BAliBASE. / This thesis concerns the design and study of algorithms, on the one hand to predict the thermodynamic quantities and the secondary structure of RNA, the other for sequence alignment.In the first part, we apply a Monte Carlo algorithm to approximate the density of states for secondary structures of a given RNA sequence, and for hybridizations of two RNA sequences. We first show that the density estimated by our program is as good as the exact density, and the execution time of our program is much faster. We then calculate the melting temperature for a hybridization of two RNA sequences. We show that our melting temperatures are closer to experimental values than the other two programs.Then in the second part, we implement a dynamic programming algorithm that generates sub-optimal structures, mainly dedicated to the prediction of functional structures of riboswitchs. We first apply our program on a TPP riboswitch in which we were able to detect both functional structures. We then show that the structures predicted by our program are closer to the real structure compared to five other existing programs, on a sample of purine riboswitch.Finally, in the third part, we present a novel algorithm to produce sub-optimal pairwise alignments. We first compare our alignments to those produced by the algorithm of Needdleman-Wunsch. We predict more reference alignments than the algorithm of Needdleman-Wunsch. We then calculate the frequencies and position-specific entropies from our sub-optimal alignments. We show that entropies calculated from our program are more correlated than other programs with locations in the core block of BAliBASE reference alignments.

This essay starts out in the world of art science looking out through the glasses of Anne D’Allevas analysis of performance and videoart, digital art and Roland Bathes Semiotics. By using Meta narratives and Popular culture we will examine how one music video and one video artwork lives in the same sphere. The point of this essay is to raise awareness of how popular culture is viewed both within, but also outside of the academic world. This essays will thoroughly analyze and discuss the differences that can be discovered when comparing music videos to video art. By connecting these findings to meta narratives we will uncover cultural and time specific traits, temporalities and narrative-structures.

The primary goal of this work is to answer this question: if Artificial Intelligences (AI) are proper subjects of moral consideration, then should we develop such AI – that is, AI worthy of moral consideration of its own accord? To answer the above question, it is necessary to provide a systematic overview of whether AI are, or could be, subjects of moral consideration. By combining P. Wang’s definition of AI with AK.M. Andersson’s “The Relevant Similarity Theory”, I aim to identify conditions under which an AI could be demarcated as a proper subject of moral consideration. As a comparison, I also combine Wang’s definition with M.C. Nussbaum’s “Capability Theory”. The proposed theories have two strengths in common – namely that they each are good and contemporary examples of two influential families of views in ethics, and that they, together, represent a fairly wide spectrum of ethical theory. Using the insights gained I first develop an argument showing that beings classifiable as AI under Wang’s definition of intelligence would be correctly demarcated as proper subjects of moral consideration, regardless of preference of the two moral theories. I then develop an argument answering my primary question as such: if AI are proper subjects of moral consideration, then we should not develop AI further. / <p>HT 2021</p>

This Master's thesis analyzes Three Men in a Boat, a famous work by a British author Jerome Klapka Jerome. It is a very popular humorous novel published in 1889 which rightly belongs to the classics of British humour and is still attracting new readers today. The novel has been translated into dozens of languages including Chinese. The thesis is based on comparing the original work to its modern Chinese translation produced by Wang Bi, the analysis is conducted in the direction from English to Chinese. For reference, it also uses the Czech translation by J. Novák. Methodologically, the thesis builds on structuralist terminology created by the Czech translation theorist Jiří Levý. For text analysis, it utilizes an influential theoretical concept invented by the German translation scholar Christiane Nord. It also takes into account specialized studies on humour literature and the problems of its translation. The thesis attempts to define British humour and characterize the author's devices to achieve comic effect. It thoroughly decribes the strategies chosen for translating some of the individual literary devices (e.g. hyperbole, irony, understatement or personification) into Chinese. The complex analysis presents specific examples of translating verbal, cultural and situational humour. It also...

Raymond Williams argues that a community’s cultural texts naturally draw upon its lived experience, and are thus a trustworthy expression of life within that community. This thesis explores the subject positions expressed in two contemporary texts—Wang Yuan’s Lipstick (又 红), and Ning Ying’s I Love Beijing (夏日暖洋洋)—to understand how urban Chinese individuals experience and comprehend the transformations convulsing their cities. To facilitate this, my primary goal in this thesis is to build a theoretical framework that uses the psychoanalytic work of Jacques Lacan and Slavoj Žižek to create the concept of the fantasy construction of the desiring subject. Using this concept, and drawing on two aspects of the cultural theories of Walter Benjamin—his heavily citational methodology and his theory of the flâneur—I examine the role of fantasy in the construction of contemporary urban Chinese individuals as desiring subjects. / Graduate / 0305 0295 / stetard@me.com

Sustainable agriculture in China is highly threatened by rapid urbanization, land degradation and high population pressure. Yunnan Province, south-west China, is 94% mountainous and lacks flat land. Food shortages and inappropriate cultivation have led to intensive cultivation of steep, marginal and fragile land and have increased soil erosion. To curb this situation and assist with poverty alleviation, it is crucial to develop more productive and sustainable cropping systems. An experiment was conducted on sloping areas from 1999 to 2001 in Wang Jia Catchment, Yunnan Province. The project aim was to evaluate the effects of five selected cultivation practices on maize productivity and soil properties. The treatments were: (1) downslope cultivation without mulch, (2) contour cultivation without mulch, (3) contour cultivation with polythene mulch, (4) contour cultivation with polythene and wheat straw mulch (Integrated Contour with Plastic and Straw Mulch Treatment, INCOPLAST) and (5) contour cultivation with polythene mulch and intercropping, wide and narrow row spacing, with soybean in wide row spacing. Crop growth parameters and soil physical properties were measured throughout the cropping seasons. Considering three years data, contour cultivation with polythene mulch generally increased soil temperature by a mean of 1-2°C. The polythene retained considerably more soil moisture during dry weather. However, during wet weather, polythene prevented rainfall directly falling on the soil, which led to less soil moisture content. The soil temperature and moisture regimes under polythene mulch made plants grow faster and canopies develop well, leading to higher final yields. The benefit of polythene was 33-54% more yield than downslope cultivation without mulch treatment, over three seasons. Contour cultivation plus polythene and straw mulch retained significantly higher soil moisture levels. The yield of this treatment in 1999 was ranked second, but in 2000 it had the highest yield and in 2001 it was also more effective than contour cultivation with polythene mulch treatment. Contour cultivation with polythene mulch and intercropping improved maize yield. The soybean harvest also contributed to net income, the crop had a similar function to straw mulch and increased N availability. Contour cultivation increased yields over the range 7.2-11.2% over three seasons compared with downslope cultivation, equivalent to ~500-1000 kg per hectare more grain produced. There were few clear trends in soil properties over the 1999-2001 period. However, N concentrations increased in the contour cultivation with polythene mulch and intercropping treatment. Both contour cultivation with polythene and straw mulch and contour cultivation with polythene mulch and intercropping gave apparent increases in total K, probably resulting from both decayed straw and decomposed soybean leaves. In terms of simple cost-benefit evaluation, downslope cultivation had the lowest input and output, while contour cultivation had a similar input, but a higher output. Contour cultivation with polythene had the highest net return. Contour cultivation with polythene and straw had a high output but did not give a higher net return than contour cultivation with polythene. Contour cultivation with polythene mulch and intercropping generally had the highest input and output and could give a higher net return than contour cultivation with polythene when the soybean harvest was successful, but over three years this treatment had the greatest risk from crop failure. It is recommended that replacing downslope cultivation with contour cultivation can increase crop yields and this simple action could contribute to the development of more sustainable cropping systems in Yunnan. Polythene mulch achieved higher maize yields but its environmental impact requires further study. It is considered that contour cultivation with polythene and straw mulch or soybean intercropping could contribute towards more productive and sustainable cropping systems where soil conservation is high priority. The technique could assist with long-term soil, water and nutrient conservation and improved crop productivity.

一、字數：約六萬字。 二、章節：計分五章十六節。 三、綱要： 第一章：緒論。概言寫作意旨及方向。 第二章：背景說明。 第一節：船山性格描述。由後人記載及船山著作山看船山的性格。 第二節：政治風氣。概述明代政風。 第三節：學術風氣。概述明代學風。 第四節：社經狀況。概述明代社會與經濟性情形。 第五節：哲學背景：人心論。介紹船山的人性觀。 第三章：船山論君子與小人。 第一節：君子勢長。討論三種君子對待小人的方式。 第二節：小人勢長。討論三種君子處時的方式。 第三節：兩種君子與小人互動方式的研究。討論陰陽的對待關係及意義。 第四節：船山的終極關懷。討論船山對政治秩序的觀點。 第五節：名詞析義。探討船山的君子小人觀的始義。 第六節：結語。 第四章：船山論君臣民。 第一節：船山論君。探討船山對君權源始、轉移及運做的觀點。 第二節：船山論臣。探討船山的仕與隱的觀點。 第三節：船山論民。探討船山對人民的政治能力的觀點。 第五章：結論。 第一節：船山之人物品評的檢討。對船山的人物觀給予適當定位並據以解釋船山之隱 遁及其價值觀。 第二節：孔子之人物觀的檢討。從外王社會的期盼與個性發展的觀點進行討論。